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BLADE RUNNER
DIRECTOR'S CUT
1992

poster

FILM

Director:
Ridley Scott

Language:
English

Running Time: 112'

Main Cast :
Rutger Hauer - Roy Batty
Harrison Ford - Rick Deckard
Brion James - Leon
Daryl Hannah - Pris
Sean Young - Rachel
M. Emmet Walsh - Bryant
Joanna Cassidy - Zhora
James Hong - Chew
Edward James Olmos - Gaff
William Sanderson - J. F. Sebastian
Joe Turkel - Dr. Eldon Tyrell
Morgan Paull - Holden

Screenplay:
Hampton Fancher and David Peoples, from the book by Philip K. Dick “Do Androids Dream of Electric Sheep?”


Plot:
Basically it's the same story as the original 1982 film, but the new version omits the voice-over narration of Rick Deckard, the ex-detective hired to track down criminal humanoids, called replicants - as well as the chase-and-escape ending to the film.

The final scenes with aerial views (imposed by the producers and originally taken from Nicholson's “Shining”) have been in fact completely deleted.

It also develops in slightly greater detail the romance between Deckard and Rachael, a beautiful and mysterious replicant. The unicorn segments, which provoke Deckard to doubt his own essence, have been expanded as well. The ending carries a less optimistic message, and a haunting question - is Deckard a replicant too?

Notes:
The Director's Cut was released to celebrate the 10th anniversary of this forewarning, cult sci-fi movie.

When “Blade Runner” made its first appearance in theaters ten years before this re-release, it dazzled audiences with its stylish, brooding look into the future. From its intelligent, provocative story line to its stunning camera work and state-of-the-art special effects, “Blade Runner” opened the door to a new view of tomorrow. Bringing this tale of humans, replicants, romance and deception to the screen were filmmakers whose work was destined to be synonymous with originality, creative vision and technical artistry as well as an extraordinary cast of actors, many of whom were just beginning their soon-to-be-stellar careers. Within months of its premiere, “Blade Runner” had become a classic, leaving so indelible an image in the minds of viewers that the very phrase “like Blade Runner” came to succintly describe a world bewildering in its complex diversity, filled with the technologically fabulous and the morally dibious. Its visual style influenced numerous other creative efforts, from films such as the “Mad Max” series to the cyberpunk school of science-fiction writing and graphic design.

Rutger's Notes:
“Batty's dying at the end of the film, and it's preceded by his one important good act, which is to save the life of Deckard. That scene still affects me to this day. The point of it was to symbolize that, in this near-future, the robots were not only capable of human feelings, but - at least - in Batty's case, were more human than humans”.
“Film Review” July 1990

“My experience with Ridley was constant delight. His brain is like quicksilver, and if there's an obstacle, it's like fluid - it goes around it and I could follow him, you know, more or less, which is fun. If you meet a determined man, normally it tells you that he will break the rock if it gets in his way, but Ridley doesn't do that. He goes zimph and he's around it. That's different. Very few people can deal with this in that way.”
“Starlog” No.63, 1982

“Speaking about Blade Runner after all these years is funny, because it deals with memory. And our memories are emotional; we remember things based on feelings rather than fact most of the time. But I do recall being concerned about what replicants were to look like. The cliché at the time was pasty-faced Star-Trek type things, which I had real problems with. But then Ridley convinced me the replicants would be presented as more normal human beings. Roy Batty was a complex and important role for me. I enjoyed the challenge of portraying this four-year old thing, enjoyed the marvelous sets and atmosphere and Ridley's particular brilliance. He'd occasionally say something like, 'Could you be a little less nasty, or little more?'. But we really didn't need to talk very much, since we had such a good understanding between us.
When Roy discovers Pris' dead body with her tongue protrunding from her mouth, tenderly Roy kisses the corpse and when his mouth withdraws from hers, Pris' tongue is back in her mouth. This was my idea. By pushing Pris' tongue into her mouth, Batty buries her. It's a way to make her presentable. He waxes Pris. Makes her look decent again.
The only thing that bothered me about the end fight was that Ridley had first seen it as a Bruce Lee-type showdown in a gym. I told him, 'Look at me, I'm not Bruce Lee. And it doesn't really matter what the fuck I do as far as working or studying karate, because I will never get there'. So while talking this over, I suggested, 'Why don't we make it more of a chase, based on the Game of Life? Try and make it a silly dance based on Batty's celebration of his last drops of energy? Like a wicked game?' Ridley really liked that, and we sort of got that idea down on storyboards first before it was written up.
So Batty's behaviour during the whole ending, in a sense, came from me. Which I'm quite proud of. It's more playful and strange than simply witnessing the last swan song of a machine. I'm still proud of Batty's last speech. That's a beautiful moment, isn't it? But originally it was a bit longer, like a half-page of dialogue. So I said to Ridley the night before we shot it, 'This is way too long. If the batteries go, the guy goes. He has not time to say good-bye, except maybe to briefly talk about things he's seen' Life is short - boom! I truly felt that the ending of this picture should be done very quickly, I mean, we'd already seen this opera of dying replicants; I didn't think the audience would stand another protracted death scene. So I said to Ridley, 'Let's do it very fast, and do it as simply and profoundly as possible. But also, let Batty be a wiseguy for a second'. Ridley said, 'Yes, I like it'. So when we filmed that speech, I cut a little bit out of the opening and then improvised these closing lines, 'All those moments will be lost in time. Like tears in rain. Time to die'.
But you know, everyone always writes about me and that speech, and ignores the screenwriter. I thought David Peoples, the man who wrote that version of Batty's soliloquy, really did a beautiful job. I mean, I loved those images he came up with -'c-beams glittering near the Tannhauser gate, attack ships on fire off the shoulder of Orion'. I thought they were really interesting, even if you didn't understand them. The whole idea there, is that once he stops talking, the dove flies. You never really see the moment of Batty's death, the dove says it for him.”
“The Making of Blade Runner” by Paul M. Sammon, 1996.

“I'm still remembered for Blade Runner, but then there is only one Blade Runner and I was pleased to be part of it. The film has an enduring appeal - the battle between man and machines is an eternal thing. Very few scripts match up to that but I try not to sell out. The ultimate conflict in my life is summed up by Blade Runner - it's between true identity and fake. The copy can never be as good as the original”.
“In Britain”, October 1998.

Rutger with Ridley and Joe Turkel

A pin portraying Roy and Sebastian

A postage stamp issued by the Madagascar Mail Service

A page from a Japanese booklet

The back cover of a French book

The cover of Phillip K. Dick's book

Trailer:

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